James Hill’s long awaited new album True Love Don’t Weep is out tomorrow. It’s a collaboration between him and his partner, dancing cellist, Anne Davison. You can listen to clips of it here and read him answering some of my impertinent questions about it right here:
It’s been more than two and a half years since A Flying Leap, how has playing developed in that time?
Yeah, it’s been a while. My deal with myself has always been: “don’t record a new album until you have something new to say.” It just took me a while to figure out what I had to get off my chest this time around. Lots of things changed in my life, too. We moved to the country, we started hanging with a lot more folk musicians, I grew a beard, and so on. It’s been three years but it feels like more.
How does duetting with a cello change how you are playing?
The cello is a good match for the uke. “Low and bowed” is a perfect complement to “high and plucky”! It was so obvious that we almost missed it; we were together for two or three years before we even considered playing as a duo. And it’s come a long way from it being “my thing” with Anne accompanying. Now she’s an integral part of the sound, vocally and instrumentally.
You’ve got a great voice. How come we haven’t heard it before?
Thanks. “Great voice” is too kind but I’ll take it. The point is this: if you want a certain depth of connection with your audience, you gotta speak to them. You have to open up. It’s hard to write instrumental songs “about stuff.” I mean, I tried. I still try and I’ll keep trying. But, you know, the stuff I’m talking about in Obedience Blues or in Travelin’ On… the only way to say it is, well, to say it. It took me a long time to get comfortable with that because it felt like I was “giving up” on instrumental music.
Your version of Sakura Sakura is bound to prompt comparisons with Jake Shimabukuro’s version. As the two titans of the ukulele, how closely do you follow what each other does? Is there any friendly rivalry between you?
That really wasn’t the point of me recording that song. I just love the melody and the “spaciousness” of the tune. Jake and I keep in touch but we haven’t been in the same room at the same time for years. He’s off doing his thing and I do my best to keep busy. The way I see it we’re both still cutting our teeth and finding our way.
What are your top ukulele practice tips?
For technical stuff, practice with a purpose and stop once you’ve done what you set out to do, whether it takes 10 minutes or 2 hours. For creative stuff, noodle constantly and don’t get too attached to your first inspiration!
Are you ever going to come to the UK?
I’d love to. When’s the first Ukulele Hunt Festival?
When I raised the subject of the sexiest ukulelist, you were the clear winner. How does it feel being a ukulele sex symbol?
“Ukulele Sex Appeal” would make a good uke workshop, don’t you think? Or maybe even a DVD…
A little respite after the difficulty of the last two. You can beef it up a little by adding the G string at the same fret for each note to make them power chords.
The most difficult riff in this series, but well worth it if you ask me. It’s mainly power chords but they do jump around the neck and it’s tricky switching to the picking for the last two notes. You could make it a little easier by just using the C and G strings for the chords.
Back in the day I felt the need to argue that the ukulele wasn’t just for uggos like Tiny and Formby but sexy people played it too. How the times change. Now I feel the need to say, “Ugly men play the ukulele too.” So this edition of UkeTube features plenty of facial hair and stretched t-shirts; and smells of sweat and Lynx.
After last week’s Tiny Tim heart attack ukulele, this week sees a bunch of ukuleles with rather more modest claims to fame. But they’re very nice ukes. And plenty of very nice, none famous, ukuleles too. I should get a job as a banker so I can be incompetent and walk away with millions because I need all of these:
– Martin Tenor ukulele signed by Chris Martin. No, not that Chris Martin. Chris Martin as in C.F. Martin IV.
– Gibson Tenor once owned by Harry Von Zell: Yes, THE Harry Von Zell.
– Martin once owned by Al Hendrickson: Off of Benny Goodman and Artie Shaw.
– 1920s Gibson Style 3: Love the colour of it.
– 1920s Koa Taropatch: Restored by Jake Wildwood.
– 1930s Dobro
– Tangi Violin Ukulele: Why did they stop making something that cool?
– Balalaika adapted to play like a ukulele.
– Photo of a guy playing the uke whilst hanging off a horse.
The American Astronaut is one of my favourite films. So I was very excited to see the trailer for the follow up Stingray Sam. I was even more excited when a ukulele cropped up in it. Cory McAbee (director, star and music guy) was credited with the ukulele at the end of American Astronaut – but I can’t hear one on there.
Speaking of which. Now the ‘cute ukulele girl’ thing is getting boring boring – it’s morphed into a new trend: cute girl desert ukulele jumping. Example 1. Example 2. Get on the bandwagon while it’s still hot.
For those of you unfamiliar with the concept, the Rag Bag is the page where I stuck all the half finished stuff and bits and bobs that aren’t ready (or, more likely, never will be ready) for the blog. Most of these are requests. Recent editions are:
Guitar Riffs + St Patrick’s Day = Inevitable Lizzy
… and a bit of harmony action. This has to be the best bit of harmony guitar work ever (run close by the Hotel California solo). So I’ve kept that and written up two ukulele parts (moved up four frets to fit).
The Barnkickers are a big favourite in the uke community; winning UkeWarehouse’s video contest and receiving nominations for Ukulele Video of the Year and UU’s Undies. The group is father and daughter duo Steve and Amanda – the Billy Ray and Miley Cyrus of the ukulele – and they have just released their first album Up Before Noon.
I got in touch with Barnkicker Steve to discuss familial music making, ukuleles and manatee lettuce.
There aren’t many father/daughter duos out there. What sort of dynamic is there between you?
I think we have a pretty typical father daughter relationship. We are very close, but of course there are times we don’t agree and that can extend to our musical endeavors at times. We do have a lot of interests in common and we share a similar dry sense of humor. Amanda and I don’t really get to spend as much time together as we’d like and we both have pretty busy lives these days. She has her act together to a much greater degree than I did when I was her age, that’s for sure!
Is one of you in charge?
Is any father really “in charge” of their seventeen year old daughter? Joking aside, it’s hard to stop being “Dad” and become just a collaborator, but luckily we have similar ideas and tastes when it comes to music. I’m more or less “in charge” during the recording process, but things like arranging songs and making videos are more of a joint effort. When recording Amanda’s songs, I try to get ideas from her and compliment her performance when I add the other instruments.
How is it different from playing with non-family members?
There is a comfort level between us that makes it very easy to work together. We can voice our opinions or doubts without worrying about what the other person thinks. We also take a great deal of pride in one another’s talent. There is something special about family members performing music together and I’m glad I have the opportunity to do so.
What differences are there between yours and Amanda’s songs?
My songs often sound like they were written a generation ago. I enjoy writing new songs that sound like old standards and I’m always looking for a catchy hook or a clever lyric. Amanda’s influences are more contemporary and there is often a touch of angst in her lyrics which are much more enigmatic than mine. You could say my influences start at The Beatles and work backward while her start at the same point and go forward.
Do you ever write songs together?
Not really, although we bounce ideas off of each other and offer suggestions. The four songs of Amanda’s that you hear on the CD are entirely her compositions. I basically just added the guitar and bass parts.
The combination of ukulele and double bass works incredibly well. Why do you think that is?
Since they are both plucked string instruments the sound blends together nicely, yet because of the different ranges they never get in each others way. It’s sort of like the left and right hands of a piano. There is actually a third ingredient in there too: all of our songs include acoustic guitar which sits right in between the uke and the bass. Those three instruments from the basis of our arrangements with snare drum and solo instruments added later.
‘Father Knows Best’. A trace of sarcasm there, no?
Yes, but good-natured sarcasm. That’s one the few songs I’ve written that is based on true experiences. When Amanda knows she’s right about something it can be hard to convince her otherwise and that song references some of the silly disagreements we’ve had over the years. The chorus is inspired by the time we went canoeing and she ate a piece of floating vegetation to prove to me that it was a type of lettuce that the manatees ate. She wound up drinking all of our water and eating all of the food we brought to soothe her burning throat, all to prove her father wrong.
What’s your pre-Barnkickers musical history?
I attended Berklee College of Music and I earned my living as a professional bassist for many years. I still gig regularly on both acoustic and electric bass and I suspect a few eyebrows were raised when I started showing up around town with a ukulele, but I’m hooked on them! Amanda started playing clarinet in middle school and more recently started playing guitar and ukulele. She has been singing all her life and The Barnkickers is really an extension of the musical home videos we used to make together when she was a little girl.
What’s in your ukulele collection?
On the Barnkickers CD I used my Ohana CK-50G which was my first nice ukulele and I recently acquired a vintage Martin 1-T tenor uke that’s in mint condition. I also have a vintage Kay soprano, a Hilo soprano, a concert Flea, an Ohana CK-70RB and a vintage Harmony baritone. Amanda has a Bushman Jenny Concert uke which she used to record her songs on the CD and she also has an Kala electric/acoustic tenor that we won in the Uke Warehouse video contest. In general Amanda and I prefer concert and tenor sized ukuleles and we keep them tuned GCEA with a high G. I’m pretty sure my next uke will be a banjolele.
What are your plans for the rest of this year?
Although we have a CD release party scheduled later this month, I’m afraid there won’t be too many live performances from The Barnkickers this year. Amanda will graduate from high school in May and she has been accepted into the music program at the college she was hoping to attend. She will also be joining the army reserve band and completing her basic training over the summer. We’re both still writing music and we will be contributing a new original song to a compilation CD I am currently producing as a fundraising project for a not-for-profit organization. It’s going to feature a great selection of uke-based artists and I think it will be a big hit in the ukulele community. I also have plans to promote The Barnkickers CD as well, so between these two projects you should be hearing more from The Barnkickers throughout the year.
Up Before Noon is out now. You can buy the downloads on DigStation and the CD on CD Baby
